D.  Y.  CAMERON 

CARNEGIE  INSTITUTE 
MDCCCCXIX 


v 


J^o.  88  Old  Saint  Etienne 


EXHIBITION  OF  ETCHINGS  BY 

D.  Y.  CAMERON 

FROM  THE  COLLECTION  OF  MR.  E.  M.  HERR 

Held  at  Carnegie  Institute  * Pittsburgh 
December  5 — January  31 


PITTSBURGH 
Carnegie  Institute 
1919-1920 


Acknowledgment 

The  Department  of  Fine  Arts  ma\es  grateful 
acknowledgment  to  Mr.  E.  M.  Herr,  who  has 
generously  lent  these  etchings  for  exhibition. 


D.  T.  CAMERON 

IN  the  history  of  Graphic  Art  nearly  every 
great  etcher  has  been  a notable  painter  as 
well.  Many  of  the  greatest  masters,  of  whom 
Diirer  and  Rembrandt  are  remarkable  in  their 
respective  domains,  have  devoted  as  much,  if 
not  more,  of  their  energies  to  engraving  or  etch' 
ing  as  to  painting.  They  have  not  regarded 
engraving  and  etching  merely  as  an  easy  or 
profitable  means  of  disseminating  their  drawings 
or  designs  through  a larger  public,  but  have 
turned  to  these  arts  as  possessing  qualities  of 
depth  and  expressiveness  of  line  which  no  direct 
work  with  the  pen  or  pencil  can  exhibit.  If 
their  paintings  have  been  engraved  or  etched, 
this  has  more  often  been  left  to  another  hand. 
The  true  painter^etchers  and  painter'engravers 
recognise  that  difference  of  process  requires  en' 
tirely  different  treatments  of  similar  themes,  and 
they  have  for  the  most  part  kept  their  painted 
and  engraved  work  rigidly  distinct.  It  is  to 
Cameron  s work  as  an  etcher  this  exhibition 
invites  your  attention. 

\ 

The  third  son  of  Robert  Cameron,  a learned 
minister  of  the  Scottish  Church,  David  Young 
Cameron  was  born  in  the  year  1865  in  Glasgow. 
During  his  early  life  circumstances  were  hardly 
favorable  to  the  development  of  his  artistic 


C7] 


D.  Y.  CAMERON 


tastes,  and  with  great  reluctance  he  entered  upon 
a business  career;  nevertheless  at  this  period 
much  of  his  leisure  time  was  spent  in  the  Glasgow 
School  of  Art  learning  to  draw,  and  before  long 
further  efforts  toward  commercial  success  were 
frankly  abandoned. 

In  1885  Cameron  entered  the  Edinburgh 
School  of  Art,  and  the  same  year,  as  a member  of 
the  old  Scottish  Atelier  Society,  he  enjoyed  the 
advice  and  received  the  encouragement  of  the 
late  Arthur  Melville,  one  of  the  artistwisitors 
of  the  Society.  About  this  time  he  became  a 
frequent  visitor  at  the  house  of  Mr.  George 
Stevenson,  a Fellow  of  the  Painter'Etchers  and 
and  a close  friend  of  Sir  Seymour  Haden.  Here 
Cameron  first  had  an  opportunity  to  study  fine 
prints,  and  it  was  at  Mr.  Stevenson’s  suggestion 
and  under  his  instruction  alone,  that  Cameron 
learned  the  art  of  etching.  Mr.  Frank  Rinder, 
in  the  introduction  to  his  Catalogue  of  the 
Etched  Work  of  D.  Y.  Cameron,  to  which  much 
of  this  foreword  is  indebted,  tells  that  Mr. 
Stevenson  not  only  gave  the  artist  instruction 
and  guidance,  but  that  he  actually  worked  upon 
many  of  the  earlier  plates,  including  some  of  the 
“Clyde  Set” — Camerons  first  published  series 
of  etchings,  devoted  to  Scottish  scenery  on  or 
near  the  River  Clyde. 

[8} 


D.  Y.  CAMERON 


Thereafter  the  artist  made  rapid  progress.  In 
1892  he  published  a group  of  etchings  done  in 
the  north  of  Holland.  Then  appeared  the  Ital- 
ian set;  the  London  set;  some  of  the  older  part 
of  Paris  in  1904;  and  later,  souvenirs  of  his 
travels  in  Belgium  and  Egypt,  not  to  mention 
the  many  characteristic  performances,  which 
have  been  published  from  time  to  time. 

It  will  be  of  interest  to  the  student  of  etch' 
ing  to  remark  the  names  of  the  men  whose  work 
in  this  medium  has  influenced  Cameron,  and  to 
whom  the  etcher  would  be  first  to  acknowledge 
his  debt  — Lalanne,  Seymour  Haden,  Meryon, 
Whistler,  Rembrandt — certainly  a noble  com' 
pany,  and  perhaps  to  a weaker  man  conducive 
to  mediocrity,  if  not  servile  imitation.  But 
Cameron  has  the  born  etchers  sincerity  and 
sense  of  proportion,  added  to  a remarkable  abib 
ity  to  understand  and  assimilate  the  best  that 
tradition  affords.  A style  which  shows  the 
achievement  of  great  power  and  individuality 
is  the  result. 

Mr.  Rinder’s  catalogue,  which  was  compiled 
in  1912,  describes  four  hundred  and  forty-three 
plates.  To  this  list  must  be  added  the  twenty -five 
or  thirty  subjects  etched  since  the  definitive  cata' 
logue  was  issued.  Two  points  are  especially 
noticeable  in  this  mass  of  work.  “Cameron  has 

[9] 


D.  Y.  CAMERON 


been  from  the  beginning  a connoisseur  of  the 
picturesque,  whether  wandering  over  Europe 
for  his  material,  or  looking  for  it  at  his  door. 
He  has  found  it  alike  in  the  romantic  regions 
of  the  Continent,  and  amid  British  scenes  which 
have  not  always  seemed  to  promise  the  glamour 
of  romance.  His  success  has  been  in  a large 
measure  due  to  the  second  most  obvious  element 
in  his  artistic  character  — his  predilection  for 
architectural  effects.  He  extracts  beauty  from 
these  when  the  building  in  question  is  austere 
to  the  point  of  grimness,  as  in  old  ‘Beauvais,’ 
or  he  captures  the  charm  lying  on  the  surface 
of  his  subject,  as  in  the  ‘ Windmills,  Zaandam.’ 
Light  and  shade  are  his  best  auxiliaries,  whether 
he  is  studying  the  bleak  mediaeval  masses  of 
Stirling  Castle,  or  is  sketching  a Rembrandt' 
esque  landscape  like  his  ‘Border  Tower.’  ” How 
much  there  is  of  his  architectural  interpretation, 
says  Wedmore,  that  is  purely  romantic  and 
much,  too,  that  has  the  austerity  of  the  Middle 
Ages  and  of  the  bitter  North. 


[10] 


D.  Y.  CAMERON 

etchings 


The  initial  R refers  to  Mr.  Frank  Rinder's 
“D.  Y.  Cameron — an  Illustrated  and  De- 
scriptive Catalogue  of  his  Etched  Work.” 


i  Paisley  Abbey.  South  View 

Etching 

Only  State  R.  T^o.  3 


2 Smailholm  Tower 

Etching 

Two  impressions  only  R.  7<[o.  10 

3 Saint  Mary’s  Loch 

Etching 

Only  State  R.  7S [o.  13 

“Lone  Saint  Mary’s  silent  lake,  from  which  the 
Yarrow  takes  its  source”  is  described  in  “Mar- 
mion”  and  alluded  to  by  Wordsworth. 


4  Bothwell 

Etching 

Only  State  R.  J<lo.  34 

This  sweep  of  the  Clyde  is  celebrated  in  Scot- 
tish song  as  Bothwell  Bank. 

[ii] 


D.  Y.  CAMERON 


5 The  Clyde  at  Govan 

Etching 

First  State  R.  7s {o.  39 

One  of  the  Clyde  Set 

This  etching,  showing  the  Queen's  Dock,  Stob' 
cross,  on  the  north  side  of  the  river,  would  more 
correctly  be  entitled  “The  Clyde  from  Govan.” 

6 Dumbarton 

Etching 

Only  State  R.  7s [o.  40 

One  of  the  Clyde  Set 

From  Dumbarton  Castle  on  March  17,  1547, 
Queen  Mary  set  sail  for  France. 

7 Ardrossan 

Etching 

Only  State  R.  Jslo.  46 

Ardrossan  and  Ailsa  in  distance 


8  Ayr 

Etching 
Only  State 

One  of  the  Clyde  Set 

[ia] 


R.  7s[o.  47 


ETCHINGS 


9  Culziean  Castle 

Etching 

Only  State  R.  Flo.  48 

One  of  the  Clyde  Set 

10  Tayside 

Etching 
Only  State 

11  The  Veteran 

Etching 
Second  State 

12  Broomielaw 

Etching 
Only  State 
Four  or  five  impressions  only 
Broomielaw  Bridge,  Glasgow 

1 3 Oude  Kerk,  Amsterdam 

Etching 

Second  State  R.  Flo.  117 

The  apse  of  the  Gothic  church  in  which  Saskia, 
wife  of  Rembrandt,  is  buried. 

One  of  the  North  Holland  Set 

[13] 


R.  No.  73 


R.  Flo.  94 


R.  F^o.  1 12 


D.  Y.  CAMERON 


14  Van  Og’s  Houtkoperij 

Etching 

Second  State  R.  ?{o.  123 

This  etching  is  of  a small  houtkoperij — timber- 
merchant’s — at  Utrecht. 

One  of  the  North  Holland  Set 

15  The  Winchmill 

Etching 

Second  State  R.  J\[o.  13 1 

A subject  near  Haarlem 

One  of  the  North  Holland  Set 

16  Three  Vagrants 

Etching 

Only  State  R.  ?S [0.  149 

About  ten  impressions 


17  Haarlem 

Etching 

Only  State  R.  R[o.  170 

Very  few  impressions.  Possibly  an  earlier  state 
exists,  as  trees  in  mid'distance,  towards  right, 
suggest  wor\  removed. 


[14] 


ETCHINGS 


1 8 Interior:  Perthshire 

Etching 
Only  State 

About  twelve  impressions 

19  Lecropt 

Etching 

Second  State 

About  twelve  impressions 

20  A Border  Tower 

Etching 
Only  State 

21  Saint  Mark's,  Venice.  No.  1 

Etching 
Second  State 

One  of  the  North  Italian  Set 

22  A Venetian  Fountain 

Etching 
Only  State 

One  of  the  North  Italian  Set 

£15] 


R.  No.  175 


R.  No.  177 


R.  No.  196 


R.  No.  204 


R.  No.  210 


D.  Y.  CAMERON 


23  Via  ai  Prati,  Genoa 

Etching 
Second  State 

One  of  the  North  Italian  Set 

24  The  Confessional 

Etching 
Only  State 

One  of  the  North  Italian  Set 

25  San  Giorgio  Maggiore 

Etching 
Only  State 

One  of  the  North  Italian  Set 

26  A Lady  of  Genoa 

Etching 
Only  State 

27  Church  Interior,  Venice 

Etching 
Second  State 

One  of  the  North  Italian  Set 


R.  No.  21 1 


R.  No.  212 


R.  No.  213 


R.  No.  217 


R.  No.  219 


ETCHINGS 


28  Farm  Gateway,  Campagnetta 

Etching 

Fourth  State  R.  Flo.  222 

One  of  the  North  Italian  Set 

29  The  Palace  Doorway 

Etching 

Only  State  R.  Flo.  225 

One  of  the  North  Italian  Set 

30  The  Wine  Farm 

Etching 

Second  State  R.  F {o.  227 

31  Landscape  with  Trees 

Etching 

Only  State  R.  7 \[o.  226 

One  of  the  North  Italian  Set 

32  Dry  burgh 

Etching  and  Dry-point 

Fifth  State  R.  Flo.  232 

On  September  26,  1832,  Sir  Walter  Scott  was 
interred  here  in  the  tomb  of  his  maternal  an' 
cestors,  who  at  one  time  owned  Dryburgh 
Abbey. 


D.  Y.  CAMERON 


33  The  Smithy 

Etching  touched  with  Dry-point 

Third  State  R.  7\[o.  234 

34  Le  Puits 

Etching 

Second  State  R.  7\ [o.  273 

A Rouen  subject 

35  Cour  des  Bons  Enfants,  Rouen 

Etching 

Second  State  R.  T^o.  277 

36  Ledaig 

Etching 

Second  State  R.  7S [0.  278 

37  ‘Ye  Banks  and  Braes.’ 

Etching  touched  with  Dry-point 

Second  State  R.  7 \[o.  279 

38  Custom  House 

Etching  touched  with  Dry-point 

Third  State  R.  7v[o.  289 


ETCHINGS 


The  Custom  House  was  built  in  18 13^1 7 to  the 
westward  of  Wren’s  old  structure  from  the  de- 
sign  by  David  Laing.  The  whole  building  was 
altered  by  Smirke  about  1825. 

39  Queen  Anne’s  Gate,  Westminister 

Etching 

First  State  R.  Ho.  297 

One  of  the  London  Set 

40  Henry  the  Seventh’s  Chapel 

Etching  touched  with  Dry-point 

Third  State  R.  Ho.  298 

The  Chapel  of  the  Blessed  Virgin,  Westminister 
Abbey,  is  generally  known  as  that  of  Henry  VII. 

One  of  the  London  Set 

41  Saint  George’s,  Hanover  Square 

Etching 

Only  State  R.  Ho.  301 

Twelfth  and  last  subject  in  the  London  Set 

42  The  Rialto 

Etching  touched  with  Dry-point 
Second  State 


[19] 


R.  Ho.  305 


D.  Y.  CAMERON 


43  The  Abbasia,  Venice 

Etching  touched  with  Dry-point 

Third  State  R.  F [o.  306 

44  Venetian  Street 

Etching  touched  with  Dry-point 

Fourth  State  R.  Flo.  308 

Some  impressions  were  printed  on  green  paper. 

45  Joannis  Darius 

Etching  touched  with  Dry-point 

First  State  R.  Flo.  309 

46  Ca  cTOro 

Etching  touched  with  Dry-point 

Trial  Proof  R.  Flo.  310 

47  Laleham 

Etching  and  Dry-point 

Third  State  R.  Flo.  313 

48  Rosslyn  Chapel 

Etching  touched  with  Dry-point 

Only  State  R.  Flo.  314 

About  six  impressions  only 


ETCHINGS 


49  Ponte  della  Trinita 

Etching  and  Dry-point 

Third  State  R.  7 \[o.  325 

This  bridge  in  Florence  was  built  in  1567^70  by 
Bartolommeo  Ammanti. 


50  Doge’s  Palace 

Etching  touched  with  Dry-point 

Second  State  R.  Js [o.  326 


5 1  Loches 

Etching 

Second  State  R.  7S [o.  328 

This  shows  the  Porte  Picoys  with  the  Hotel  de 
Ville  on  the  left.  Ludovico  Sforza  died  a 
prisoner  at  Loches  and  sketches  on  the  prison 
wall,  ascribed  to  him,  are  thought  to  represent 
Leonardo's  perished  equestrian  statue  of  the 
great  Duke,  Francesco  Sforsa. 


52  Angers:  Rue  des  Filles  Dieu 
Etching 
Only  State 


R.  J^o.  329 


D.  Y.  CAMERON 


53  Saint  Laumer,  Blois 

Etching  touched  with  Dry-point 

Trial  Proof  R.  JS [o.  351 

The  remains  of  Saint  Laumer,  a pious  anchorite 
who  died  at  Chartres  in  the  sixth  century,  were 
finally  brought  to  Blois,  where  in  1138  the 
Benedictine  monks  began  building  this  church 
to  receive  the  relics.  The  church  was  desecrated 
during  the  Terror  and  when  reconsecrated 
received  the  name  of  Saint  Nicolas  from  a parish 
annexed  to  the  monastery  in  1302. 


54  Amboise 

Etching 

Second  State  R.  7\ [o.  352 

Just  outside  the  walls  of  Amboise,  Leonardo 
held  the  little  Chateau de  Clou,  wherein  1519 
he  died. 


55  Place  Plumereau,  Tours 

Etching  and  Dry-point 

Second  State  R.  ?{o.  353 


56  Montivilliers 

Etching  touched  with  Dry-point 

Third  State  R.  J\[o.  355 


[22] 


ETCHINGS 


57  Harfleur 

Etching  touched  with  Dry-point 

Fourth  State  R.  J\[o.  366 

58  The  Forth 

Etching  and  Dry-point 

First  State  R.  7s [o.  358 

59  A Norman  Village 

Etching 

Second  State  R.  7{o.  359 

The  village  is  that  of  Le  Grand  Andely. 

60  The  North  Porch,  Harfleur 

Etching  touched  with  Dry-point 

First  State  R.  7s[o.  360 

61  Hotel  de  Sens 

Etching  touched  with  Dry-point 

Second  State  R.  7s[o.  363 

The  name  commemorates  the  fact  that  in  the 
fifteenth  century,  when  this  hotel  was  built  for 
the  occupancy  of  the  Archbishops  of  Sens,  Paris 
was  under  their  ecclesiastical  jurisdiction. 


D.  Y.  CAMERON 

*3  -fcu 

Restaurant  Cavalier  % 

..Etching  touched  with  Dry<point 

/' ' >'  ' /.  '"-r\  i.-y  ;! ;= 

Fourth  Stdte 
One  of  the  Paris  Set 

63  Rue  Saint  Julien  le  Pauvre 

Etching  touched  with  Dry-point 
First  State 

64  The  Workshop 

Etching  and  Dry-point 
Third  State 

65  Old  Saumur 

Etching  and  Dry-point 
Fourth  State 

66  The  Sycamore 

Etching  and  Dry-point 
Third  State 

A Gargunnock  subject 

67  The  Tweed  at  Coldstream 

Etching  touched  with  Dry-point 
Second  State 


f 


62 


7 

R.  M.O.  365 


R.  Flo.  366 


R.  Flo.  369 


R.  7s lo.  371 


R.  Flo,  372 


R.  Flo.  374 


Cm] 


ETCHINGS 


At  Coldstream,  the  first  ford  above  Berwick, 
crossed  by  Edward  I.  when  he  entered  Scotland 
in  1296,  General  Monk  in  1660  raised  the  regi- 
ment, afterwards  known  as  the  Coldstream 
Guards,  with  the  aid  of  which  Charles  II.  was 
restored  to  the  throne. 


68  Robert  Lee’s  Workshop 

Etching  and  Dry-point 

Third  State  R.  ?{o.  375 

69  The  Canongate,  Tolbooth 

Etching  touched  with  Dry-point 

Third  State  R.  7 \[o.  378 

The  Old  Tolbooth  gaol,  Edinburgh,  at  the  north- 
west corner  of  Saint  Giles’,  was  ‘the  Heart  of 
Midlothian,  a place  old  in  story  and  namefather 
to  a noble  book’. 


70  Saint  Merri 

Etching  and  Dry-point 

Third  State  R.  T^o.  379 

The  church  of  Saint  Merri,  formerly  Saint 
Mederic,  is  in  the  Rue  Saint  Martin,  Paris,  to 
the  northeast  of  the  Tour  Saint  Jacques. 


[25] 


D.  Y.  CAMERON 


7 1 Ber  wick'on'T weed 

Etching  touched  with  Dry-point 

Fourth  State  R.  7 s(o.  382 

Berwick  Bridge,  1 609^34,  is  considered  a master' 
piece  of  seventeenth  century  bridge  building. 

72  Evening  on  the  Garry 

Etching  and  Dry'point 

Third  State  R.  Flo.  383 

73  Robin  Hood’s  Bay 

Etching  and  Dry-point 

First  State  R.  Flo.  384 

74  Robin  s Court 

Etching  touched  with  Dry'point 

Fourth  State  R.  7s {o.  385 


75  Mar  s Work,  Stirling.  No.  2 

Etching  and  Dry-point 

Second  State  R.  Flo.  386 

This  gateway  is  the  remains  of  a house  built 
by  Earl  Mar,  Regent  of  Scotland. 


[26] 


ETCHINGS 


76  The  Gateway  of  Bruges 

Etching  touched  with  Dry-point 
Third  State 

First  of  the  Belgian  Set 

77  La  Roche 

Etching  and  Dry-point 
First  State 

Second  of  the  Belgian  Set 

78  La  Maison  Noire,  Bruges 

Etching  touched  with  Dry-point 
First  State 

Third  of  the  Belgian  Set 

79  The  Meuse 

Etching  and  Dry-point 
Only  State 

Fourth  of  the  Belgian  Set 

80  Damme 

Etching  and  Dry-point 
First  State 

Fifth  of  the  Belgian  Set 


R.  No.  387 


R.  No.  388 


R.  No.  389 


R.  No.  390 


R.  No.  391 


D.  Y.  CAMERON 


8 1 The  Belfrey  of  Bruges 

Etching  touched  with  Dry-point 

First  State  R.  J\[o.  392 

Sixth  of  the  Belgian  Set 

82  Old  La  Roche 

Etching  touched  with  Dry-point 

Third  State  R.  7v[o.  393 

Seventh  of  the  Belgian  Set 

83  Notre  Dame,  Dinant 

Etching  touched  with  Dry-point 

First  State  R.  F(o.  394 

Eighth  of  the  Belgian  Set 

84  Dinant 

Etching  and  Dry-point 

Second  State  R.  7\[o.  395 

Ninth  of  the  Belgian  Set 

85  A Valley  of  the  Ardennes 

Etching  and  Dry-point 

Second  State  R.  F{o.  396 

Tenth  and  last  subject  of  the  Belgian  Set 

[a8] 


ETCHINGS 


8fr  The  Five  Sisters,  York  Minister 

Etching  touched  with  Dry-point 

Third  State  R.  Flo.  397 

This,  perhaps  the  loveliest  of  great  English  win- 
dows, is  also  more  than  any  other  a subject  for 
the  etcher,  as  its  beauty  is  less  that  of  jewel- 
colour  than  of  light-interpenetrated  design. 


87  On  the  Ourthe 

Etching  and  Dry-point 

Second  State  R.  F [0.  398 

88  Old  Saint  Etienne 

Etching  and  Dry-point 

Fourth  State  R.  Flo.  400 

Old  Saint  Etienne,  Caen,  now  used  as  a ware- 
house, should  not  be  confused  with  Saint 
Etienne,  the  church  of  the  Abbaye-aux- 
Hommes,  founded  by  William  the  Conquerer 
in  1062. 

89  Old  Bridge,  Whitby 

Dry-point 
Third  State 

This  bridge  no  longer  exists. 


R.  Flo.  403 


D.  Y.  CAMERON 


90  Sketch  on  the  Tay 

Etching  and  Dry-point 

Fifth  State  R.  F {o.  404 

91  The  Turkish  Fort 

Etching  touched  with  Dry-point 

Third  State  R.  Tsj [0.  409 

This  fort  is  on  the  Mokattam  Hills,  near  Cairo 

92  The  Desert 

Etching  touched  with  Dry-point 

Fourth  State  R.  Flo.  410 

The  fragment  of  Pyramid  seen  in  the  etching 
forms  part  of  the  great  Gizeh  group. 

93  The  Fisher’s  Hut 

Etching  and  Dry-point 

Fifth  State  R.  FI [0.  41 1 

This  is  a study  on  the  Findhorn. 

94  Beauvais 

Etching  and  Dry-point 

Eighth  State  R.  Flo.  412 


[30] 


ETCHINGS 


95  The  Mosque  Doorway 

Etching  touched  with  Dry-point 

Fourth  State  R.  7s [o.  413 

A Cairo  subject 

96  Street  in  Cairo 

Etching  and  Dry-point 

Fifth  State  R.  7s [0.  414 

97  The  Chimera  of  Amiens 

Etching  touched  with  Dry-point 

Second  State  R.  7s[o.  415 

98  The  Wingless  Chimera 

Etching  touched  with  Dry-point 

Eighth  State  R.  T^o.  416 

99  Ben  Ledi 

Etching  and  Dry-point 

Second  State  R.  7s [o.  424 

The  Gaelic  name  Ben  Ledi, — ‘the  Hill  of  God’ — 
is  said  to  have  originated  in  the  Beltane  mys- 
teries celebrated  on  its  summit. 


[31] 


D.  Y.  CAMERON 


IOO 

Vvon 

Etching  touched  with  Dry-point 

First  State 
A Chartres  subject 

R.  Flo.  425 

IOI 

The  Boddin 

Dry' point 

Third  State 

The  Boddin  is  in  Lunan  Bay 

R.  Flo.  428 

102 

Ralia 

Dry'point 

Third  State 

R.  A[o.  433 

103 

Appian  Rocks 

Undescribed 

IO4 

Loch  en  Dorb 

Undescribed 

105 

On  the  Esk 

Undescribed 

I06 

Nithsdale 

Undescribed 

[ 32} 


ETCHINGS 


107  Kincardine 

Undescribed 

108  Inverlochy  Castle, 
Argyllshire 

Undescribed 

109  Cairngorms 

Undescribed 

no  Amsterdam 

Undescribed 

in  Saint  Aignan,  Chartres 

Undescribed 

1 1 2 The  Royal  Scottish  Academy, 

Edinburgh  Undescribed 


1 13  Tewksbury  Abbey 

Undescribed 

1 14  Peaks  of  Arran 

Undescribed 

1 1 5 Lochan 


Undescribed 


D.  Y.  CAMERON 


116  Old  Museum,  Beauvais 

1 17  Kerrara 

1 18  The  Frews 

1 19  Carselands 

t2o  Kerrara.  No.  2 


Undescribed 


Undescribed 


Undescribed 


Undescribed 


Undescribed 


[34] 


GETTY  RESEARCH 

3 3125  01498  8303 


